Preserve coloring in newspaper

How can I preserve color from an illustrator file saved as pdf and sent to newspaper for print?

Mh... I beg to disagree:
- Creating outlines is usually a bad idea, specially if you have tiny text and/or a big quantity of it. Embed fonts.
- 300 ppi for a newspaper sounds like overkill. 100-150 ppi is usually more than enough.
- CMYK... which one? A bad election will end in a PDF with way too much ink.
If you need to shoot a blind shot because of having no data, a PDF/X-1a:2003 with a standard profile like IFRA's ISOnewspaper26v4 (as described in http://www.medibelplus.be/pdf/newspaper/Photoshop_INP26v4_en.pdf) should be in the safe side. And it's dead easy to do.
A good resorce on choosing the right ICC profile to make a print-ready PDF is http://www.gwg.org/download.php?f=d6be762f2b5d729c65b15b9edd8b718a by the Ghent PDF Workgroup.
Anyway, I guess the original poster must have printed whatever needed
Best regards

Similar Messages

How to Preserve Colors

I have a set of photos taken of different color objects illuminated by different types of lights at night along with a photo of each object in daylight. Color temp of the lights ranged from 2000K to 6000k. I want to show the difference in color rendering between the different light sources. I don't want to "improve" the photos -- just show the color distortion as it was -- that's the point. Photos were taken on a Nikon D50 SLR in raw with auto white balance.
My question is: I've used "as shot" white balance when importing into Photoshop. Is that correct? I'm concerned that the white balance computed by the camera will be used and will distort the original colors.

I'm looking to render whites (and several other colors) at the same distorted color captured by the camera due to differences in the spectral composition of the light used for the scene
There is no such thing as "preserving the colors" but "reproducing the colors", because the camera's way of recording the image is different from what you get at the end (already the thread title How to Preserve Colors showed this misconception).
The pixels of a camera with Bayer type sensor are often described as "red", "green" and "blue". This is comfortable, but incorrect; the pixels should be called Rgb, Grb, Brg, i.e. "mainly red, somewhat green, somewhat blue", the other one "mainly green, somewhat red, somewhat blue" and the third one is "mainly blue, somewhat red, somewhat green".
Let's see an example created with your camera (the sample is from Imaging Resources). We concentrate on the red, green and blue patches of the color checker card. The captures show a crop from the raw, i.e. undemosaiced, non-WBd image. The first capture shows the image in "composite color" mode: the "red" pixel value was used for the R component of RGB, the "blue" pixel value for the B component, and the average of the two "green" pixels became the G component.
The patches appear blue, green and red, more or less. But how are they really? The following captures show only the red, the green and the blue components. If a patch were red, then the green and blue component would be null (black in the display), likewise with the green and blue. Is that so?
It is obvious, that the "natural" color component is the strongest, but the others are far from being black.
The next issue is, that this appearance does not depend only on the color of the object and on the illumination, but on the sensor (on the filters over the sensels) as well. Look at the same patch under the same illumination, created by the D90. It is close, but not identical to the D60:
Again, all the above was without white balancing.
If you want to show, how the D60 (but only the D60!) records a scenery under a givel illumination, you have to use a neutral white balance. First, create such a template shot. The easiest way (though not all cameras like this) is to make a shot of something, which totally clips, like the cloudy sky or a white sheet, at least three stops overexposed (do NOT shoot the sun). Then use this image for setting the custom WB in the camera and select "custom WB" for the demo shot. Now the colors are not adjusted to the illumination.
This is still far from what the camera captured, but somewhat closer. If you want to see really the captured data, use Rawnalyze (free): http://www.cryptobola.com/PhotoBola/Rawnalyze.htm
Gabor

How can I process a linearly converted raw file while preserving color?

Hi,
I want to convert my raw files in a linear format (to preserve all the dynamic range and detail and prevent unnecessary clipping). My question is "how can I modify the brightness or luminance while preserving the hue and saturation of every color?"
As for applying the gamma curve, I guess the best and only way in Photoshop is to create a Levels adjustment and place a 2.2 in the middle (gray) input box. However, I read in http://www.luminous-landscape.com/tutorials/hybrid-conversion.shtml that a 4.75 value should be used... Why? Is the number placed there not correspond to the gamma being applied?
Thanks in advance.
Juan Dent
P.S.: getting colorimetrically accurate color from the camera, through all the manipulations in Photoshop is for me crucial. Any pointers as to what to do and what to avoid?

First of all, you should have used the Adobe DNG Converter 8.6, not an old, obsolete version. Always use the very latest version. 8.3 was simply the first ACR version to support your camera model, that's all.
Note that the DNG Converter works only on folders, not on individual raw files. Put all your Sony raw files in a folder and run the Converter on that folder containing the raw files.
I have absolutely no clue as to what on Earth you mean by : "upon reading the memory chip from Photoshop CS5".
You also need to make sure that CS5 is fully updated. You cannot rely on the highly and notoriously unreliable Adobe auto updater to tell whether you have the latest update installed or not.
I still have no idea what platform you are on, Mac or Windows. Please read the following for next time:
BOILERPLATE TEXT:
If you give complete and detailed information about your setup and the issue at hand,
such as your platform (Mac or Win),
exact versions of your OS, of Photoshop (not just "CS6", but something like CS6v.13.0.6) and of Bridge,
machine specs, such as total installed RAM, scratch file HDs, total available HD space, video card specs, including total VRAM installed,
what troubleshooting steps you have taken so far,
what error message(s) you receive,
if having issues opening raw files also the exact camera make and model that generated them, etc.,
someone may be able to help you (not necessarily this poster).
A screen shot could be very helpful too.
Please read this FAQ for advice on how to ask your questions correctly for quicker and better answers:
http://forums.adobe.com/thread/419981?tstart=0
Thanks!

Best way to go from Final Cut to DVD preserving Color Corrections

What is the best way to take my video project from Final Cut and burn it on a DVD (using DVD Studio), I need to preserve the color corrections I have made (used an external video monitor)? Also my camera shoots at black level IRE 0 and I have edited it that way, but as we all know NTSC TVs use IRE 7.5 is there anyway DVD Studio or FCP can convert the IRE so it matches?

from FC; export to compressor
In compressor, choose appropriate preset (i.e. best quality, >90 minutes, 16x9)
encode the sound as dolby 2 (if you choose "all" you'll get an extra aif file)
take the 2 files (video and audio) into dvd studio to encode.
Not sure about your IRE 7.5 question, I always assumed it was automatically converted but now you have me thinking...

Need help now! Preserving color in Pages to PDF format

I read the other recent post on PDF-CMYK and I may be in the same boat. Right now, I need to get my Pages newsletter (6 pages long) saved in a PDF format that will preserve the original colors I used in Pages. This PDF will be emailed and be posted online for others to read online--so I need the same colors. Everything I have tried has failed - but this for some reason worked, and I dont know why (nor I am not sure what it is doing) -
From Pages Print, Save PDF as PostScript (no clue what this is). It created a 40MB file. I used Preview to open it and it converted it to a PDF - *perfect color match to original Pages document* Yes!... BUT - in the title bar I can see the name of my file, it has .pdf a the end. So I try to File Save it in the required directory and it reverts to the off-colors. The off colors consistently appear when I try to use any other PDF save format.
My goals -
#1 Time-date Priority (less than 24hrs) I need a compressed email friendly newsletter in PDF to share via email/web download.
#2 Print ready PDF version (not sure on the file requirements yet)
HELP!!

Thanks. Yes, I realize i need RGB. When I try any of the PDF print options (either export or print PDF or Compressed PDF or Email PDF) they ALL change the color layout of the entire newsletter!! The colored blocks behind the text are all altered, but all of the inserted JPGS are just fine.
I managed to use Automator and applied a custom Quartz filter to apply an RGB profile and render the intent on the shading and it seemed to help some, but it is not the same as the original. This action I created has to start with a PDF file to run it - so you can see I am back at square one with the PDF save not capturing the correct colors. This action took a 7+mb PDF file (created via Export) and made it into 660kb (oh, I also used a compression quartz filter too in the action).
I only had one problem with one image getting fine white lines horizontally through it. I suspect that is one image that was very large to begin with. I will try to resize it in PSE and then insert a smaller version of it. The rest of the jpg's were fine.
Right now this newsletter PDF has to be emailed to members and it will be posted online for download. It will also be emailed to prospective commercial printers to give them a preview of the project (but not use this actual file for printing).
So I am still stuck with PDF saves not preserving my original colors.

How to make Flash preserve color of layers with varying opacity when imported from Photoshop

I have a set of layers in a Photoshop .psd with varied opacities; when I import the psd layers to Flash as Flash layers, the colors of the layers is wrong - the lower the opacity percentage in PS, the more "off" the color is in Flash. Photoshop measures the color of each layer as an RGB value - I don't know why Flash can't preserve the RGB values as well? Any ideas would be appreciated.
Sean

You mean like this?
Use a gradient.

How to preserve colors when using a CMYK PDF as a texture on a 3D Layer (in a RGB document)?

Hello!
I'd like to use a CMYK PDF/Illustrator file thats coming from another designer as a label on a 3D object that I imported as a 3D Layer. The Photoshop document is in 16bit RGB mode and has the sRGB color Profile.
Are these the right requirements to stay as closely to the original CMYK colos as possible? What does the optimal workflow for this look like if the result has to be printed in the end?
Thank you and regards
Henning

You convert the CMYK document to RGB using standard color management. The rest is beside the point. We know nothing about your experience in 3D nor your actual artwork, settings, system and so on. Just slapping on a texture on a 3D model doesn't make it look "real" or even photo-realistic. You have to understand lighting, shading and how to prepare textures properly, stuff for which you can find any number of tutorials on the web (though not specifically for PS 3D).
Mylenium

Workbook column should preserve color after the run in Analyzer

Hello all,
I use BEx SAP BW 3.x.
I made a workbook , and I put column 3 to have orange color in this workbook then I saved it.
Then I run a query, in BEx Analyzer.
My orange column is orange, but just partially, top and bottom. In this column I have now data
and for that zone with data the background is white, not orange.
Please provide me a solution, what should I have to modify, so my entire third column to be orange after the run in Analyzer .
Any clues would be appreciated.
Thanks.

In bex 3.x embedd the query in your workbook then change the format of the style of the cell not the cell itself
This will only work if the column has a unique bex style
Other than that nto much use unless you have a piece of macro code or use excel functionality to add an extra column and make that orange
YOu could of course have the column being an exception where the exception is always true - and then format the exception style to be orange

Preserving Black color values when converting color PDF to grayscale

I opened a full colored PDF document (exported from InDesign using Profile: Euroscale Coated v2) in Photoshop and tried to convert it to grayscale (image > mode > grayscale) and noticed that the black color values changed. text for example that was 100% black in the PDF document became a screen of 91% black.
is there a way to preserve color values when converting full color PDF documents to grayscale?
or in other words WHICH is the correct way to convert full color PDF documents or full color InDesign files to grayscale?
I am using Adobe CS 3, Acrobat 8 Professional, on Mac OS 10.5.5

Before you open the PDF in Photoshop, set PS's Color Settings to Photoshop 5 Default Spaces. When you open the PDF set the Mode to Grayscale in the Import dialog. Just remember to reset your color settings when you're done.
Edit: Also, if you want to match black percentages as well as 100% black, set the Photoshop Color Settings to Photoshop 5 Default Spaces with the Gray working space to Dot Gain 20%.

Why does Illustrator change CMYK color numbers when set to preserve them?

I'm using CS2 on Mac OSX 10.4. Recently I tried importing a Photoshop image into Illustrator and then matching a color in Illustrator to a color in the Photoshop document. But Illustrator changed the CMYK values of the color in the Photoshop document even though I have "Preserve CMYK colors" checked in the color setup window. Both applications and files are set to SWOP v2.
I don't have the same problem when placing either Photoshop or Illustrator files into InDesign.
I ended up recreating the project in InDesign to get consistent color, but I need to know how to make Illustrator preserve color numbers for the project that will come up for which I need Illustrator features.
Thanks.

So here we are at Illustrator CC and this very simple integration has not been fixed... because as far as I'm concerned... it is a BUG!
Seriously, no offense to @Steve Fairburn... but that is just so archaic for a "suite" of programs that should work well together.
There is absolutely NO need for CMYK colors to be valued beyond solid percentages in 1% increments in either Illustrator or InDesign!
Here's a stupid workaround if you need to link images, and pull colors:
Load the image as "linked" -> duplicate it and choose "embed" -> pull the colors and make swatches with the eyedropper tool... then throw it away. You could also just relink the file after an embed, making sure to check the Adanced Options checkbox.
ADDITIONAL NOTES:
1) why does InDesign give you the ability to "Reveal the Linked Image on the Desktop", whereas in Illy you can only reveal in Bridge?
2) "placing" the same PSD/PDF image in InDesign and Illustrator: ID allows for correct eydropper color pulling, while IL does not until you embed it.

A/B Color contrast in develop module

It would be really nice to hace a slider (or three, I'll explain) for "color contrast".
Threre is "contrast" slider that influences the luminosity basically. What I would want to have is a way to control color contrast while preserving luminosity as well as preserve color balance.
A single slider implementation
Basically the simplest way (but a bit crude) to do it would be with a single slider.
The slider defaults to 0.
Moving it to the right would be equivalent to the following photoshop procedure:
Change mode to LAB
Curve adjustment
Steepen both the A and B curves linearly (pull extreme points in and leave the curve straight, plus keep the center where it is to preserve color balance)
Leave the L curve alone
Apply
switch mode back to RGB
Moving it left would be the same, except the AB curves would be made shallower rather than steeper (rotate the curve clockwise instead of counter clockwise about the center)
A two slider implementation
Same as the above, except that you would have separate A and B sliders (you might call the tint contrast and temp contrast to be consistent with the color balance sliders, which are just like moving the center point of the AB curves)
A three slider implementation
Basically this is like having bothe the one slider ("overall color contrast") and the two sliders ("temperature contrast" and "tint contrast"). It's a bit redundant but having the single control there makes it easier when you simply want to globally increase the color contrast without being too picky about the two separate controls (I guess easier for beginners)

Not at all. The saturation control has quite a different effect that this, and much les subtle. Saturation just increases saturation without changing the hue. This actually changes the hue causing a separation in hues that is impossible to achive in any manuver you would to in RGB space. It drives colors apart rather than increasing their chroma.
Try it yourself on a few images (especially on images that have nearly uniform color, such as deserts or faces. You will see that this is an entirelty different thing than saturation.

Color Setting Issues: CS6

Loading or syncing color setting files results in different cm policies among the CS apps.
Even when loading the canned CSF's.
Example:
Load one of the defaults (i.e. North American Prepress 2) into Photoshop and the cm policy for CMYK is "preserve embedded profile".
However, load the same default into InDesign and under the same policy is "preserve numbers (ignore linked profiles)". Same goes if you customize a CSF and either oad it manually or sync it in Bridge.
That's an important difference if your company is trying to practice color management.
Assuming I'm correct about this, and there's something broke, think Adobe can fix it?
one more thing...Seems CS6 now supports Grayscale, which is great, but why can't it retain the embedded profile in the file?
Again...Assuming I'm correct about this, and there's something broke, think Adobe can fix it?

Tom,
let me start quoting the help text:
InDesign Help
--- Start
Preserve Embedded Profiles
Always preserves embedded color profiles when opening files. This is the recommended option for most workflows
because it provides consistent color management. One exception is if you’re concerned about preserving CMYK numbers,
in which case you should select Preserve Numbers (Ignore Linked Profiles) instead.
Preserve Numbers (Ignore Linked Profiles)
This option is available in InDesign and Illustrator for CMYK. Preserves color numbers when opening files and
importing images, but still allows you to use color management to view colors accurately in Adobe applications.
Select this option if you want to use a safe CMYK workflow. In InDesign, you can override this policy on a per-object basis
by choosing Object > Image Color Settings.
Using a safe CMYK workflow
A safe CMYK workflow ensures that CMYK color numbers are preserved all the way to the final output device, as opposed
to being converted by your color management system. This workflow is beneficial if you want to incrementally adopt color
management practices. For example, you can use CMYK profiles to soft-proof and hard-proof documents without the
possibility of unintended color conversions occurring during final output.
Illustrator and InDesign support a safe CMYK workflow by default. As a result, when you open or import a CMYK image with
an embedded profile, the application ignores the profile and preserves the raw color numbers. If you want your application
to adjust color numbers based on an embedded profile, change the CMYK color policy to Preserve Embedded Profiles in the
Color Settings dialog box. You can easily restore the safe CMYK workflow by changing the CMYK color policy back to
Preserve Numbers (Ignore Linked Profiles).
You can override safe CMYK settings when you print a document or save it to Adobe PDF. However, doing so may cause
colors to be reseparated. For example, pure CMYK black objects may be reseparated as rich black. For more information
on color management options for printing and saving PDFs, search in Help.
--- End
My opinion:
It seems, InDesign uses despite the synchronization via Bridge Preserve Numbers instead of Preserve Embedded Profile for safety.
Personally, I would use for one project just one CMYK space:
a) convert in Photoshop all images RGB-->CMYK using this profile and embed the profile in each image
b) make document in InDesign with Preserve Numbers
c) export as PDF without profiles, but with output-intent for this profile (PDF-X1a)
InDesign (even CS6) ignores Gray profiles for viewing and doesn't embed them in PDFs, see (1).
IMO, the only accurate workflow is this one:
a) convert images to Grayscale using a "black ink profile" which is derived from the project CMYK space
b) place Grayscale in channel K of otherwise void CMYK file
c) export as PDF as above
(1) Discussion (including CS6):
http://forums.adobe.com/message/5483198
(2) Test (CS2):
http://docs-hoffmann.de/colpdf27022008.pdf
(3) Testpattern:
http://docs-hoffmann.de/riptest05072013.pdf
Best regards --Gernot Hoffmann

Scrolling Row Text Color in JScrollPane

Hi,
I've implemented a JTable that overrides the prepareRenderer method so that if certain criteria are met, the text of the associated row are set to a certain color.
          // Create JTable and override prepareRenderer method
          centertable = new JTable(sorter)
               public Component prepareRenderer(TableCellRenderer renderer, int row, int column)
                    //System.out.println("Row: " + row + " Column: " + column + " Value: " + colorpanel[row][column]);
                    Component c = super.prepareRenderer(renderer, row, column);
                    if(selectedcolorpanel[row][column] == 1)
                         c.setBackground(Color.ORANGE);
                    else
                         c.setBackground(Color.BLACK);
                    // Do Text Coloring for uptick / downtick?
                    // Uptick
                    if(selectedcolorpanel[row][column] == 2)
                         c.setForeground(Color.GREEN);
                    // Downtick
                    if(selectedcolorpanel[row][column] == 3)
                         c.setForeground(Color.RED);
                    // Same
                    if(selectedcolorpanel[row][column] == 4)
                         c.setForeground(Color.WHITE);
                    // Keyboard and mouse highlights implementation
                    if(isCellSelected(row, column))
                         c.setBackground(Color.ORANGE);
                         selectedcolorpanel[row][column] = 1;
                    return c;
          };I embed the table in a scrollpane and set an integer to the limit of rows that I want to display in the table. If I get a row above the row limit of the table, I first remove a row from the table model, then add the new row. However, the color is not preserved, as the table scrolls UP, but the colorpanel does not. Does anyone have any suggestions, or easy way to preserve coloring in a JTable on scroll?
Thanks,
hhung

Hi,
Swing questions should be asked in the Swing forum. Please post your question there, and link back to this thread.
Kaj

Print Adjustments (colors go flat)

I'm working wtih LR 4.2, Windows 7, a reasonably well calibrated monitor and Ilford Galerie Smooth Pearl paper.
My prints are coming out a tad dark. I'm trying to figure out how to correct this w/o sacrificing color or contrast. With LR 3, I usually added 10% to the brightness slider in the Develop module, and all was okay.
Now with LR 4, when I start adding brighness (first 10%, then 20%), the colors become gradually washed out and flat. So, I start dialing up the contrast slider, taking that up to maybe 60% then 80%, and the contrast comes back but the color still seems soft. It seems like no matter what I do, some of the color is lost.
Can someone help me understand how to use these sliders to lighten up an image while preserving color? I could use a little background in how these two controls interact with the image, and possibly be given a starting point. I'm concerned I don't really understand what's going on here.

If you found that Lr3 printed a tad dark and was fixable by increasing Develop brightness slider then that would suggest that your display (calibrated or not) is too bright. I suggest dialing the brightness of display back a tad.
Note - Lr has a feature in Print module that can be used to compensate for dark/light prints (see Print Adjustment in Print Job panel) caused by overly bright/dark displays. There are sliders for brightness and contrast, but no visual feedback of how they're actually effecting the image being sent to the printer. Adjusting them has no effect on the image in Develop module or the file when exported, they're simply tweaking data being sent to printer. Personally, I don't recommend the use of this feature as all it does is hide the underlying problem. However, some users feel that it's a better solution for them becasue adjusting the actual display brightness level adversely effects other applications.

RED Raw color correction with "curves"

Hi there,
i was wondering, if, when i am color correcting RED Raw files with the effect "curves" (for example) am I working with the full dynamic range of the RAW footage?
Is the range different, if I work in the RAW-Ediotr that i reach through the "interpret footage" dialogue box?
We are trying optimize the workflow for a certain project and would rather use effects on the footage layers, rather than interpret them (yeah, we´re really lazy).
Thanks a mill,
Björn

Yes, you are working with the full range from the .r3d files when applying effects in After Effects. In fact, you have more problems with colors clipping if you manipulate things like exposure in the RED settings than if you manipulate them in After Effects with effects (though that is better now than it used to be).
You should work with your project in 32-bpc color to make sure that you're preserving color information all the way through the pipeline.

Preserve coloring in newspaper

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